Three of the major recent contributions to avant-garde film history have actually been collections: To Free the Cinema, edited by David E. James; Women's Experimental Cinema; edited by Robin Blaetz; and now Radical Light, edited by Steve Anker, Kathy Geritz, and Steve Seid
In the two introductions to Radical Light, Anker and Seid
, respectively, can't help drawing connections between the physical layout of the Bay Area and the unruly cinema it's created.
In the same vein, Seid, Video Curator at the Berkeley Art Museum and the PFA, says, "San Francisco's topography-and by extension, that of the greater Bay Area-lends itself to certain rumination about verdant folds and gusty vales, about dusty undulations and rock-tumbled shores.
These countless permutations of soil and stone are known no better than by the fog that commingles intimately with each crevice, niche, and drizzly dell....This unspoiled diversity seems to nurture and promote the arts like no other region.
Before going on to talk about manifest destiny and the myth of the West, Seid
has, with the phrase "unspoiled diversity," put a paradoxically modern spin on these things.